Film Keşif Ağlarının İzleme Deneyimi İle İlişkisi: Letterboxd Örneği

Onur Turgut

doi:10.17680/erciyesiletisim.1338828

Araştırma Makalesi

The Relationship Between Film Discovery Networks and Viewing Experience: The Example of Letterboxd

Yıl 2024, Cilt: 11 Sayı: 1, 253 - 281, 30.01.2024

Onur Turgut

https://doi.org/10.17680/erciyesiletisim.1338828

Öz

Film discovery networks provide film recommendations and serve as intermediaries for changes extending from factors transforming viewing practices to shifts in perceptual patterns and consumption behaviors. Additionally, actions such as sharing posts related to films, rating movies, and creating film lists highlight the impacts of digital culture reshaping cinema comprehension. Determining how and for what purposes new media opportunities, influencing viewing forms and cinematic discourse, are employed is crucial in understanding diverse audience profiles. In this context, these opportunities reveal dynamics that shape viewers' film experiences and diversify cinematic culture. In this regard, the Letterboxd film discovery network, chosen as a sample, stands out as a noteworthy illustration. Indeed, Letterboxd emerges as a significant tool that reshapes the cinematic perception of the digital age through interactive actions, including sharing film recommendations, providing evaluations, and generating customized lists. Building upon this, in-depth interviews were conducted with 11 participants actively engaged with this network. Consequently, it becomes evident that through this network, participants embrace the innovations introduced by the digital age. Moreover, the Letterboxd social network is observed to function as an interactive and personalized medium where users craft their evaluative judgments.

Anahtar Kelimeler

Film Discovery Networks, Letterboxd, Cinemagoer, Film Rating

Kaynakça

Aboulaoula, S., & Biltereyst, D. (2021). Corona cinephilia: A qualitative audience study on cinephile places, spaces and the impact of COVID-19 on urban cinephilia in the city of Ghent, Belgium. Participation Journal of Audience & Reception Studies, 18(2), 473-497.
Başer, E., & Söğütlüler, T. (2023). Değişen İzleme Eğilimleri Çerçevesinde Dijital Platformlar ve İçerik Reklamları Üzerine Bir İnceleme. Akdeniz İletişim, 41, 1-26.
Baltacı, A. (2018). Nitel araştırmalarda örnekleme yöntemleri ve örnek hacmi sorunsalı üzerine kavramsal bir inceleme. Bitlis Eren Üniversitesi Sosyal Bilimler Dergisi, 7(1), 231-274.
Behlil, M. (2005). Ravenous cinephiles: Cinephilia, Internet and online film communities. M. De Valck, & M. Hagener içinde, Cinephilia. Movies, Love and Memory (s. 111-123). Amsterdam University Press.
Binark, M., Arun, Ö., & Özsoy, D. (2020). Covid-19 Sürecinde Yaşlıların Enformasyon Arayışı ve Enformasyon Değerlendirmesi. TUBİTAK Proje Raporu Proje 120K613.
Birney, A. (2023, 02 03). What is Letterboxd? Meet the social media platform for movie buffs. 04 2023 tarihinde AndroidAuthority: https://www.androidauthority.com/what-is-letterboxd-3216354/ adresinden alındı
Bourdieu, P. (1993). The Production of Belief: Contribution to an Economy of Symbolic Goods. R. Johnson içinde, The Field of Cultural Production: Essays on Art and Literature. Colombia: Colombia University.
Bourdieu, P. (2015). Ayrım: Beğeni Yargısının Toplumsal Eleştirisi. Ankara: Heretik Yayınları.
Casetti, F. (2012). Sinemasal Deneyim. sinecine: Sinema Araştırmaları Dergisi, 2(2), 81-93.
Culloty, E. (2016). The Taste Database. G. Austin içinde, New Uses of Bourdieu in Film and Media Studies. New York-Oxford: Berghahn Books.
Czach, L. (2010). Cinephilia, stars, and film festivals. Cinema Journal, 49(2), 139-145.
Çaycı, B. (2021). Aşırı İzlemeyle Değişen Dizi İzleme Biçimlerinin İzleyiciler Üzerindeki Etkileri. The Turkish Online Journal of Design Art and Communication, 403-423.
Dahlberg, L. (2017). Dijital demokrasiyi yeniden yapılandırmak: Dört pozisyona dair bir taslak. F. Aydoğan içinde, Yeni Medya Kuramları (s. 131-156). Der Yayınları.
Dawkin, R. (1976). The Selfish Gene. Oxford: Oxford University Press.
Denzin, N. K., & Lincoln, Y. S. (2005). Introduction. The discipline and practice of qualitative research. N. K. Denzin, & Y. S. Lincoln içinde, Collecting and interpreting qualitative materials (s. 1-45). SAGE Publications.
Di Foggia, G. (2012). Traces of Cinephilia on Facebook. Communication & Learning in the Digital Age.
Edmond, M. (2022). Careful Consumption and Aspirational Ethics in the Media and Cultural Industries: Cancelling, Quitting, Screening, Optimising. Media, Culture & Society, 45(1), 92–107.
Erving, G. (2018). Gündelik Hayatta Benliğin Sunumu. İstanbul: Metis Yayınları.
Flayelle, M., Maurage, P., & Billieux, J. (2018). Toward a qualitative understanding of binge-watching behaviors: A focus group approach. Journal of behavioral addictions,, 6(4), 457-471.
Flazs, J. (2023, 01 11). Letterboxd and the Gamification of Movie-Watching. 04 2023 tarihinde Flazs on Film: https://flaszonfilm.com/2023/01/11/letterboxd-and-the-gamification-of-movie-watching/ adresinden alındı
Foucault, M. (2019). Kendini Bilmek. H. Luther, H. Gutman, & P. Hutton içinde, Kendini Bilmek: Bir Michel Foucault Semineri. İstanbul: Profil Kitap.
Frey, M. (2015). Introduction: critical questions. In n Film criticism in the Digital Age (pp. 1-20). Rutgers University Press.
Frey, M. (2015). The New Democracy? Rotten Tomatoes, Metacritic, Twitter, and IMDb. M. Frey, & S. Cecillia içinde, FILM CRITICISM IN THE DIGITAL AGE (s. 81-98). New Brunswick, New Jersey and London: Rutgers University Press.
Frey, M. (2021). Netflix Recommends: Algorithms, Film Choice, and the History of Taste. California: Univ of California Press.
Gracewood, G. (2022, 03 22). Film Feelings: using ‘nanogenres’ to find similar films. 04 2023 tarihinde Letterboxd: https://letterboxd.com/journal/film-feelings-nanogenres/ adresinden alındı
Guest, G., Bunce, A., & Laura, J. (2006). How Many Interviews Are Enough?: An Experiment with Data Saturation and Variability. Field Methods, 18(1), 59-82.
Herzig, R. (2016). A Bourdieuian Approach to Internet Studies. G. Austin içinde, New uses of Bourdieu in film and media studies. Berghahn Books.
Horst, H. (2012). New Media Technologies in Everyday Life. In Digital Anthropology (pp. 61-79). Routledge.
Hudson, D., & Zimmerman, P. (2009). Collaborate Remix Zones: Deterritorializing and Decorporatizing Cinephilia. Screen, 135–146.
Jullier, L., & Leveratto, J. (2012). Cinephilia in the digital age. Audiences: Defining and Researching Screen Entertainment Reception, 143-154.
Kammer, A. (2015). Post-Industrial Cultural Criticism, The everyday amateur expert and the online cultural public sphere. Journalism Practice, 9(6), 872-889.
Karpik, L. (2010). Valuing the unique: The economics of singularities. Princeton: Princeton University Press.
Keathley, C. (2005). Cinephilia and History, or the Wind in the Trees. Indiana: Indiana University Press.
Keen, A. (2007). The Cult of the Amateur: How Today's Internet is Killing Culture. Nicholas Brealye.
Keller, S. (2020). Anxious Cinephilia: Pleasure and Peril at the Movies. Colombia: Columbia University Press.
Klinger, B. (2006). Beyond the Multiplex: Cinema, New Technologies and the Home. Berkeley & Los Angles: University of California.
Letterboxd: The Kiwis Behind Cinema’s Most Influential Platform. (2023). https://idealog.co.nz/venture/2023/02/letterboxd-the-kiwis-behind-cinemas-most-influential-platform adresinden alındı
Livingstone, S. (1999). New media, new audiences? New media & society, 1(1), 59-66.
March, R. (2022, 03 01). Nanocrowd and Letterboxd Help You Find Movies and Series You’ll Love to Watch. 03 2023 tarihinde NanoCrowd: https://nanocrowd.com/nanocrowd-letterboxd/ adresinden alındı
Marres, N. (2017). What is Digital Society? N. Marres içinde, Digital Sociology: The Reinvention of Social Research. Cambridge: Wile Publishers.
Marsh, C. (2021, 01 13). Is Letterboxd Becoming a Blockbuster? 03 2023 tarihinde The New York Times: https://www.nytimes.com/2021/01/13/movies/letterboxd-growth.html adresinden alındı
McGowan, T. (2012). Gerçek Bakış: Lacan Sonrası Sinema Kuramı. İstanbul: Say Yayınları.
Mcwhirter, A. (2016). Film criticism and digital cultures: journalism, social media and the democratization of opinion. Bloomsbury Publishing.
Metzger, M., & Flanagin, A. (2002). Audience Orientations toward New Media. Communication Research Reports,, 19(4), 338-351.
Mosco, V. (2009). The political economy of communication.
Ng, J. (2010). The myth of total cinephilia. Cinema Journal, 49(2), 146-151.
Nooney, L., & Stacer, L. (2014). One does not simply: An introduction to the special issue on internet memes. Journal of Visual Culture, 13(3), 248-252.
Otterbacher, J. (2013). Otterbacher, Jahna. "Gender, writing and ranking in review forums: a case study of the IMDb. Knowledge and information systems, 645-664.
Panayides, T., Lee, K., Longworth, K., Nehme, F., & Zacharek, S. (2015). Excerpts from Cineaste’s “Film Criticism in the Age of the Internet: A Critical Symposium. F. Mattias, & S. Cecilia içinde, FILM CRITICISM IN THE DIGITAL AGE. New Brunswick, New Jersey and London: Rutgers University Press.
Patton, M. (2002). Two decades of developments in qualitative inquiry: A personal, experiential perspective. Qualitative Social Work, 1(3), 261-283.
Przybylski, A., Murayama, K., DeHaan, C., & Gladwell, V. (2013). Motivational, emotional, and behavioral correlates of fear of missing out. Computers in Human Behavior, 29(4), 1841–1848.
Ren, Y., Harper, F., Drenner, S., Terveen , L., Kiesler, S., Riedle, J., & Kraut, R. (2012). uilding member attachment in online communities: Applying theories of group identity and interpersonal bonds. MIS Quarterly, 841-864.
Rosen, J. (2006, 06 27). The People Formerly Known as the Audience. 05 2023 tarihinde Press Think: http://archive.pressthink.org/2006/06/27/ppl_frmr.html adresinden alındı
Seidman, I. (2006). Interviewing as Qualitative Research: A Guide for Researchers in Education and the Social Sciences,. New York: Teachers College Press.
Shambu, G. (2020). Yeni Sinefili. Eskişehir: yortkitap.
Smith, D. (2019, 10 07). How Letterboxd Is Trying to Get an Edge Over Other Movie Apps. 04 2023 tarihinde Lamag: https://www.lamag.com/culturefiles/letterboxd/ adresinden alındı
Stewart, S. (2007). On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham & London: Duke University.
Sung, Y., Kang, E., & Lee, W. (2018). Why Do We Indulge? Exploring Motivations for Binge Watching. Journal of Broadcasting & Electronic Media,, 62(3), 408-426.
Suri, H. (2011). Purposeful Sampling in Qualitative Research Synthesis. Qualitative research journal, 11(2), 63-75.
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Film Keşif Ağlarının İzleme Deneyimi İle İlişkisi: Letterboxd Örneği

Yıl 2024, Cilt: 11 Sayı: 1, 253 - 281, 30.01.2024

Onur Turgut

https://doi.org/10.17680/erciyesiletisim.1338828

Öz

Film keşif ağları yalnızca film önerileri sunmakla kalmaz, izleyici pratiklerini dönüştüren faktörlerle alımlama biçimlerinden tüketim örüntülerine kadar uzanan değişimlerin aracı olur. Bunun yanında filmlerle ilgili paylaşımlar yapmak, filmleri derecelendirmek, film listeleri oluşturmak gibi eylemler, dijital kültürün sinema kavrayışını değiştiren etkilerine işaret etmektedir. Seyir formlarını ve sinema söylemini etkileyen yeni medya olanaklarının, nasıl ve hangi amaçlarla kullanıldığının belirlenmesi, farklı seyirci profillerinin anlaşılmasında kritik bir rol oynamaktadır. Bu bağlamda, bu olanakların kullanımı, izleyicilerin film deneyimlerini şekillendiren ve sinema kültürünü çeşitlendiren dinamikleri açığa çıkarmaktadır. Bu noktada, örneklem olarak belirlenen Letterboxd film keşif ağı incelenmeye değer bir örnek olarak belirlenmiştir. Nitekim Letterboxd, sinema tutkunlarının film önerilerini paylaşma, değerlendirme yapma ve özel listeler oluşturma gibi etkileşimli eylemleriyle, dijital çağın sinema algısını değiştiren önemli bir araç olarak öne çıkmaktadır. Buradan yola çıkarak, bu sosyal ağı kullanan 11 katılımcı ile derinlemesine görüşmeler düzenlenmiştir. Sonuç olarak bu sosyal ağ aracılığıyla katılımcıların, dijital çağın getirdiği yenilikleri benimsedikleri görülmüş, ayrıca Letterboxd sosyal ağının kendi değer yargılarını üreten interaktif ve özelleştirilmiş bir mecra olduğu gözlemlenmiştir.

Anahtar Kelimeler

Film Keşif Ağları, Letterboxd, Sinemasever, Film Puanlama

Kaynakça

Aboulaoula, S., & Biltereyst, D. (2021). Corona cinephilia: A qualitative audience study on cinephile places, spaces and the impact of COVID-19 on urban cinephilia in the city of Ghent, Belgium. Participation Journal of Audience & Reception Studies, 18(2), 473-497.
Başer, E., & Söğütlüler, T. (2023). Değişen İzleme Eğilimleri Çerçevesinde Dijital Platformlar ve İçerik Reklamları Üzerine Bir İnceleme. Akdeniz İletişim, 41, 1-26.
Baltacı, A. (2018). Nitel araştırmalarda örnekleme yöntemleri ve örnek hacmi sorunsalı üzerine kavramsal bir inceleme. Bitlis Eren Üniversitesi Sosyal Bilimler Dergisi, 7(1), 231-274.
Behlil, M. (2005). Ravenous cinephiles: Cinephilia, Internet and online film communities. M. De Valck, & M. Hagener içinde, Cinephilia. Movies, Love and Memory (s. 111-123). Amsterdam University Press.
Binark, M., Arun, Ö., & Özsoy, D. (2020). Covid-19 Sürecinde Yaşlıların Enformasyon Arayışı ve Enformasyon Değerlendirmesi. TUBİTAK Proje Raporu Proje 120K613.
Birney, A. (2023, 02 03). What is Letterboxd? Meet the social media platform for movie buffs. 04 2023 tarihinde AndroidAuthority: https://www.androidauthority.com/what-is-letterboxd-3216354/ adresinden alındı
Bourdieu, P. (1993). The Production of Belief: Contribution to an Economy of Symbolic Goods. R. Johnson içinde, The Field of Cultural Production: Essays on Art and Literature. Colombia: Colombia University.
Bourdieu, P. (2015). Ayrım: Beğeni Yargısının Toplumsal Eleştirisi. Ankara: Heretik Yayınları.
Casetti, F. (2012). Sinemasal Deneyim. sinecine: Sinema Araştırmaları Dergisi, 2(2), 81-93.
Culloty, E. (2016). The Taste Database. G. Austin içinde, New Uses of Bourdieu in Film and Media Studies. New York-Oxford: Berghahn Books.
Czach, L. (2010). Cinephilia, stars, and film festivals. Cinema Journal, 49(2), 139-145.
Çaycı, B. (2021). Aşırı İzlemeyle Değişen Dizi İzleme Biçimlerinin İzleyiciler Üzerindeki Etkileri. The Turkish Online Journal of Design Art and Communication, 403-423.
Dahlberg, L. (2017). Dijital demokrasiyi yeniden yapılandırmak: Dört pozisyona dair bir taslak. F. Aydoğan içinde, Yeni Medya Kuramları (s. 131-156). Der Yayınları.
Dawkin, R. (1976). The Selfish Gene. Oxford: Oxford University Press.
Denzin, N. K., & Lincoln, Y. S. (2005). Introduction. The discipline and practice of qualitative research. N. K. Denzin, & Y. S. Lincoln içinde, Collecting and interpreting qualitative materials (s. 1-45). SAGE Publications.
Di Foggia, G. (2012). Traces of Cinephilia on Facebook. Communication & Learning in the Digital Age.
Edmond, M. (2022). Careful Consumption and Aspirational Ethics in the Media and Cultural Industries: Cancelling, Quitting, Screening, Optimising. Media, Culture & Society, 45(1), 92–107.
Erving, G. (2018). Gündelik Hayatta Benliğin Sunumu. İstanbul: Metis Yayınları.
Flayelle, M., Maurage, P., & Billieux, J. (2018). Toward a qualitative understanding of binge-watching behaviors: A focus group approach. Journal of behavioral addictions,, 6(4), 457-471.
Flazs, J. (2023, 01 11). Letterboxd and the Gamification of Movie-Watching. 04 2023 tarihinde Flazs on Film: https://flaszonfilm.com/2023/01/11/letterboxd-and-the-gamification-of-movie-watching/ adresinden alındı
Foucault, M. (2019). Kendini Bilmek. H. Luther, H. Gutman, & P. Hutton içinde, Kendini Bilmek: Bir Michel Foucault Semineri. İstanbul: Profil Kitap.
Frey, M. (2015). Introduction: critical questions. In n Film criticism in the Digital Age (pp. 1-20). Rutgers University Press.
Frey, M. (2015). The New Democracy? Rotten Tomatoes, Metacritic, Twitter, and IMDb. M. Frey, & S. Cecillia içinde, FILM CRITICISM IN THE DIGITAL AGE (s. 81-98). New Brunswick, New Jersey and London: Rutgers University Press.
Frey, M. (2021). Netflix Recommends: Algorithms, Film Choice, and the History of Taste. California: Univ of California Press.
Gracewood, G. (2022, 03 22). Film Feelings: using ‘nanogenres’ to find similar films. 04 2023 tarihinde Letterboxd: https://letterboxd.com/journal/film-feelings-nanogenres/ adresinden alındı
Guest, G., Bunce, A., & Laura, J. (2006). How Many Interviews Are Enough?: An Experiment with Data Saturation and Variability. Field Methods, 18(1), 59-82.
Herzig, R. (2016). A Bourdieuian Approach to Internet Studies. G. Austin içinde, New uses of Bourdieu in film and media studies. Berghahn Books.
Horst, H. (2012). New Media Technologies in Everyday Life. In Digital Anthropology (pp. 61-79). Routledge.
Hudson, D., & Zimmerman, P. (2009). Collaborate Remix Zones: Deterritorializing and Decorporatizing Cinephilia. Screen, 135–146.
Jullier, L., & Leveratto, J. (2012). Cinephilia in the digital age. Audiences: Defining and Researching Screen Entertainment Reception, 143-154.
Kammer, A. (2015). Post-Industrial Cultural Criticism, The everyday amateur expert and the online cultural public sphere. Journalism Practice, 9(6), 872-889.
Karpik, L. (2010). Valuing the unique: The economics of singularities. Princeton: Princeton University Press.
Keathley, C. (2005). Cinephilia and History, or the Wind in the Trees. Indiana: Indiana University Press.
Keen, A. (2007). The Cult of the Amateur: How Today's Internet is Killing Culture. Nicholas Brealye.
Keller, S. (2020). Anxious Cinephilia: Pleasure and Peril at the Movies. Colombia: Columbia University Press.
Klinger, B. (2006). Beyond the Multiplex: Cinema, New Technologies and the Home. Berkeley & Los Angles: University of California.
Letterboxd: The Kiwis Behind Cinema’s Most Influential Platform. (2023). https://idealog.co.nz/venture/2023/02/letterboxd-the-kiwis-behind-cinemas-most-influential-platform adresinden alındı
Livingstone, S. (1999). New media, new audiences? New media & society, 1(1), 59-66.
March, R. (2022, 03 01). Nanocrowd and Letterboxd Help You Find Movies and Series You’ll Love to Watch. 03 2023 tarihinde NanoCrowd: https://nanocrowd.com/nanocrowd-letterboxd/ adresinden alındı
Marres, N. (2017). What is Digital Society? N. Marres içinde, Digital Sociology: The Reinvention of Social Research. Cambridge: Wile Publishers.
Marsh, C. (2021, 01 13). Is Letterboxd Becoming a Blockbuster? 03 2023 tarihinde The New York Times: https://www.nytimes.com/2021/01/13/movies/letterboxd-growth.html adresinden alındı
McGowan, T. (2012). Gerçek Bakış: Lacan Sonrası Sinema Kuramı. İstanbul: Say Yayınları.
Mcwhirter, A. (2016). Film criticism and digital cultures: journalism, social media and the democratization of opinion. Bloomsbury Publishing.
Metzger, M., & Flanagin, A. (2002). Audience Orientations toward New Media. Communication Research Reports,, 19(4), 338-351.
Mosco, V. (2009). The political economy of communication.
Ng, J. (2010). The myth of total cinephilia. Cinema Journal, 49(2), 146-151.
Nooney, L., & Stacer, L. (2014). One does not simply: An introduction to the special issue on internet memes. Journal of Visual Culture, 13(3), 248-252.
Otterbacher, J. (2013). Otterbacher, Jahna. "Gender, writing and ranking in review forums: a case study of the IMDb. Knowledge and information systems, 645-664.
Panayides, T., Lee, K., Longworth, K., Nehme, F., & Zacharek, S. (2015). Excerpts from Cineaste’s “Film Criticism in the Age of the Internet: A Critical Symposium. F. Mattias, & S. Cecilia içinde, FILM CRITICISM IN THE DIGITAL AGE. New Brunswick, New Jersey and London: Rutgers University Press.
Patton, M. (2002). Two decades of developments in qualitative inquiry: A personal, experiential perspective. Qualitative Social Work, 1(3), 261-283.
Przybylski, A., Murayama, K., DeHaan, C., & Gladwell, V. (2013). Motivational, emotional, and behavioral correlates of fear of missing out. Computers in Human Behavior, 29(4), 1841–1848.
Ren, Y., Harper, F., Drenner, S., Terveen , L., Kiesler, S., Riedle, J., & Kraut, R. (2012). uilding member attachment in online communities: Applying theories of group identity and interpersonal bonds. MIS Quarterly, 841-864.
Rosen, J. (2006, 06 27). The People Formerly Known as the Audience. 05 2023 tarihinde Press Think: http://archive.pressthink.org/2006/06/27/ppl_frmr.html adresinden alındı
Seidman, I. (2006). Interviewing as Qualitative Research: A Guide for Researchers in Education and the Social Sciences,. New York: Teachers College Press.
Shambu, G. (2020). Yeni Sinefili. Eskişehir: yortkitap.
Smith, D. (2019, 10 07). How Letterboxd Is Trying to Get an Edge Over Other Movie Apps. 04 2023 tarihinde Lamag: https://www.lamag.com/culturefiles/letterboxd/ adresinden alındı
Stewart, S. (2007). On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham & London: Duke University.
Sung, Y., Kang, E., & Lee, W. (2018). Why Do We Indulge? Exploring Motivations for Binge Watching. Journal of Broadcasting & Electronic Media,, 62(3), 408-426.
Suri, H. (2011). Purposeful Sampling in Qualitative Research Synthesis. Qualitative research journal, 11(2), 63-75.
Susen, S. (2019). Pierre Bourdieu’nün Mirası Üzerine Son Tefekkürler. S. Susen, & S. Bryan içinde, Pierre Bourdieu’nün Mirası: Eleştirel Söylemler. Ankara: Phoenix Yayınları.
Swartz, D. (2018). Kültür ve İktidar. İstanbul: İletişim Yayınları.
Symthe, D. (1981). On the Audience Commodity and its Work. Media and cultural studies: Keyworks.
Szabo, H. (2021). American Film Criticism in the 21st Century: Everyone is a Critic (?). Cultural Perspectives-Journal for Literary and British Cultural Studies in Romania, 26, 207-230.
Tangcay, J., McCary, J., & Flam, C. (2023, 01 23). The Academy Partners With Letterboxd to Create Content for the 95th Oscars – Film News in Brief. 04 2023 tarihinde Varity: https://variety.com/2023/artisans/awards/film-news-in-brief-jan-23-1235499284/ adresinden alındı
Terzi, Ü., & Özbulduk, S. C. (2020). Türkiye’de Seyrin Tarihi: 2000’lerde Seyir Kültüründeki Değişimler ve Yeni Seyirci Tartışmaları. Sinema, Seyir ve Seyirci: Türkiye’de (s. 305-333). içinde Ankara.
Tobias, S. (2020, 09 18). The Future of Film Talk Is on Letterboxd. 04 2023 tarihinde The Ringer: https://www.theringer.com/movies/2020/9/18/21444082/letterboxd-film-discussion-site-streaming-movies adresinden alındı
Toffler, A. (1980). The Third Wave. New York: William Morrow.
Topal, K., & Ozsoyoglu, G. (2016). Movie review analysis: Emotion analysis of IMDb movie reviews,. Movie review analysis: Emotion analysis of IMDb movie reviews, (s. 1770-1776). San Fransico: IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining (ASONAM).
Torun, H. (2018). Yeni medya çağında sinefiller: Türkiye’de sinefil kültürü. Yüksek Lisans Tezi. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü.
Turgut, O. (2022). Sinefillerin Beğeni Tercihleri: Toplumsal Ayrım Ölçeğinde bir Değerlendirme. sinecine, 255-293.
Webster, J. G. (1986). Audience Behavior in the New Media Environment. Journal of Communication, 36(3), 77-91.
Zhang, Z., Jimenez, F., & Cicala, J. (2020). Fear Of Missing Out Scale: A self-concept perspective. Psychology & Marketing, 37(11), 1619–1634.

Toplam 72 adet kaynakça vardır.

Ayrıntılar

Birincil Dil	Türkçe
Konular	İletişim Teknolojisi ve Dijital Medya Çalışmaları, Sosyal Medya Çalışmaları
Bölüm	Türkçe Araştırma Makaleleri
Yazarlar	Onur Turgut 0000-0003-1631-5800
Yayımlanma Tarihi	30 Ocak 2024
Gönderilme Tarihi	7 Ağustos 2023
Yayımlandığı Sayı	Yıl 2024 Cilt: 11 Sayı: 1

Kaynak Göster

APA	Turgut, O. (2024). Film Keşif Ağlarının İzleme Deneyimi İle İlişkisi: Letterboxd Örneği. Erciyes İletişim Dergisi, 11(1), 253-281. https://doi.org/10.17680/erciyesiletisim.1338828

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